[This guy was tearing apart a Kevin Smith interview and Kevin was trying to put together a horror movie called Tusk (a walrus tusk, not having anything to do with FM) and in attacking Kevin this commenter made a LB reference]

You’re kidding, right? This keeps going? This isn’t a cliffhanger, Kevin. The audience is a tangle of shattered limbs at the bottom of the ravine by now, and you’re just poking us with your typing wand to see if we’re still listening.

But good luck with TUSK. I’m sure it won’t turn into something you dangle in front of your fans for the indefinite future. And don’t worry about the second mortgage, either. Because what are the odds that a project called TUSK will turn into an exorbitantly expensive artistic disaster?

As a Kevin Smith fan, I am inclined to agree with the author! This movie concept really doesn't do anything for me. The part about Kevin having "something to dangle in front of your fans" is my favorite line. He really has been stringing us along with Hit Somebody and Clerks 3!

But he crossed the line referring to the album as an artistic disaster.

__________________It's just a time, within a time
Just a scheme, within a scheme
A little world, within a world
Just a dream, just a dream.

"I GOT the songs I originally wanted to sing for Love Is The Way by editing, arranging and using other people's songs and I enjoyed that," she says of her 2009 long-player.

"Never Going Back was my lyrics on to a song by Lindsey Buckingham, Declan O'Rourke had written Love Is The Way, and I took it back to what I'd heard. Others, like Dragonflies, Boo Hewerdine had been playing for two years and I got it when a relation of mine died – I had an epiphany.

2. All the Stevie Nicks on this season of American Horror Story makes me happy. And because I was YouTubing a bunch of Fleetwood Mac before work this morning, Imma just go ahead and say that nobody rocks a white man 'fro like Lindsey Buckingham back in the day. WEARING A KIMONO, no less. Go on witcho bad self, LB.

Frank. (laughs) Haahha. So what is your favorite guitar technique that you utilize in the songs?

Robby: I found myself, on the last record, doing a good chunk of finger-picking on electric guitar.

Frank: Lindsey Buckingham style.

Robby: Yeah, which I found, in the studio, was something I needed to work on as far as dynamics go. I wasn’t really thinking about, how, when you’re finger-picking, this finger you’re hitting harder than this other finger. I found myself enjoying a lot of the finger-picking stuff, and I’m actually writing a bunch of stuff that is centered around that technique.

Before founding the firm in 1983, he served as defense counsel in several prominent cases, including representation of former L.A. Dodger pitcher Carlos Lopez, former U.S Congressman, Andrew J. Hinshaw (People v. Hinshaw), Lindsey Buckingham of Fleetwood Mac, the Vatican, GTE Directories Corporation, Ayerst Laboratories and Wyeth Laboratories, now known as American Home Products/Wyeth Pharmaceutical, and the late movie mogul, King Vidor.

"On the plane over to San Francisco on Saturday (I’m over for a week on a business trip), I had the chance to watch the new documentary Sound City, about the Sound City recording studios in Los Angeles. The film was made by drummer Dave Grohl (Nirvana/Foo Fighters) and is excellent throughout. But one part was particularly interesting for me. It focused on the recording of Buckingham Nicks, the album that led to Lindsey Buckingham and Stevie Nicks joining Fleetwood Mac in the 1970s, starting with Fleetwood Mac (1975) and then Rumours (1977). It’s a great record and like a blueprint for the subsequent Fleetwood Mac releases, though little heard today because for some reason it never made it onto CD. I have an old vinyl copy but can’t play it any more.

A standout track for me is the instrumental “Stephanie”, composed and played by Buckingham – whose distinctive guitar style pervades all the tracks. Buckingham uses his thumb to pick out the bass and lower parts (like the left hand for a pianist) while using the rest of his fingers for patterns, arpeggios and the melody on the upper strings in a highly independent way. And to make this work more effectively he also changes the typical guitar tuning – something he apparently tried to keep secret in his early days so that other guitarists wouldn’t copy him. It sounds so full it’s hard to believe there’s just one player or no overdubs – except for the electric guitar melodies on the record, but these aren’t really needed, this is essentially a solo piece.

“Stephanie” reminds me of the folk-influenced finger-picking guitar style Paul McCartney used on “Blackbird” taken up a few notches, and it’s evident again on the Rumours track “Never Going Back Again”. Although the original is still hard to find, Buckingham has been playing the piece live recently and there are performances available on YouTube. But if you are interested in how it is played, take a look at this fascinating tutorial by Sara Carter. The prospect of a cover version on YouTube is typically something to avoid at all costs, but not in this case – she absolutely nails it here."

This is one of my favourite Fleetwood Mac songs. "Never Going Back Again" was the third track on the first side of the legendary Rumours album, which was released in 1977. Maybe I like it so much because Lindsey Buckingham's guitar part is such a blast to play.

I have no idea about the origins of this clip, but it's clearly more recent. Love it.

‘In a time when it’s all so confusing / We can win and it feels like losing’: but I doubt whether Timothy Schmit ever feels like losing

It’s hard to believe some people find Timothy B. Schmit’s ‘rambling’ at his solo gigs annoying. I read a pretty negative review of one of his live shows on the Poconut[1] forum website but can’t find it again now.

If you want to hear someone really ramble, go see Fleetwood Mac. Lindsey Buckingham should by rights be togged up in a gilet and walking boots, with his trousers tucked securely into some sensible socks and a laminated map nestled next to the pac-a-mac in his pocket.

Lindsey has a tendency to deliver self-aggrandising mini-lectures between numbers, which only really serve to prove that he has not let anything go or matured significantly over the years. Stevie Nicks was only once guilty of an overlong song introduction but at least it had a point. Other than to prove that she’d been right along, which was the gist of all of her bandmate’s diatribes. Honestly, why is he trying to justify Tusk now? As Don Henley might advise: ‘Get over it.’

But you put up with it for the music. They tell their stories better in song and, apart from the odd self-indulgence, the shows are amazing.

Haim have often been compared to Fleetwood Mac, but they bring to mind a very specific embodiment of the band. 1987’s Tango in the Night, maybe the Mac’s most finely produced record, is so bright and glowing that even the lesser songs give off a kind of incandescence. Each instrument gently descends into view, but with a virtual depth and glimmer that lend them the qualities of tropical weather. Lindsey Buckingham never played his guitar so elusively again, particularly on “Everywhere” where it settles like percussion around John McVie’s bassline. It's as if Christine McVie’s keyboards get caught in the sweetness of its rotation.

There was more to 2013 than its last forty-six days; there was a time when we were three instead of two. Like lightning bugs, the memories flash. Ken tapping his feet at a Fleetwood Mac concert this May, marveling at the genius of Lindsey Buckingham, wondering what Lindsey must be on and if he could get his hands on some of it. My fiftieth birthday and the wood floors I’d wanted for two decades in this little house finally installed. Expense be damned, I wanted it to feel like a California beach-house underfoot. Art supplies for Sophie’s summer college class. Binge-watching Breaking Bad in late summer. The three of us watching on my computer screen, an animated film in which a frail yet fervent 83-year old Maurice Sendak gives his final interview, each of us in tears when Sendak tells the interviewer,

There was more to 2013 than its last forty-six days; there was a time when we were three instead of two. Like lightning bugs, the memories flash. Ken tapping his feet at a Fleetwood Mac concert this May, marveling at the genius of Lindsey Buckingham, wondering what Lindsey must be on and if he could get his hands on some of it. My fiftieth birthday and the wood floors I’d wanted for two decades in this little house finally installed. Expense be damned, I wanted it to feel like a California beach-house underfoot. Art supplies for Sophie’s summer college class. Binge-watching Breaking Bad in late summer. The three of us watching on my computer screen, an animated film in which a frail yet fervent 83-year old Maurice Sendak gives his final interview, each of us in tears when Sendak tells the interviewer,

That's part of that gift he has, I always talk about. His ability to really move people beyond just his playing. His playing is what was enjoyed here, but it obviously went deeper than that, and now will always mean so much more to the writer.

Sure, I hope Haim and Lindsey Buckingham surprise everyone and decide to tour together in 2014, but the mastery of “Days Are Gone” goes far beyond just good taste in classic California pop-rock. Este, Danielle and Alana Haim built a swooning album of tough and sweet earworm songs (“The Wire,” “Falling,” “Honey & I”) and display melodic acuity that feels supernaturally assured for a debut.